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The 'Illustrious' Hariata Hongi and the Authorship of Hōne Heke's Letters

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The 'Illustrious' Hariata Hongi and the Authorship of Hōne Heke's Letters New Zealand Journal of History, 52, 2 (2018) The ‘Illustrious’ Hariata Hongi and the Authorship of Hōne Heke’s Letters IN 2014, HŌNE SADLER called for the greater recognition of Māori women in New Zealand history.1 The subject of this article, Hariata Hongi, lived part of her life at Tautoro, the heart of Sadler’s, and Ngāpuhi’s, world, and another part at Kaikohe, only a short distance away, in northern New Zealand. She was of particular significance in the Ngāpuhi2 political realm of the nineteenth century, but her role as a wahine toa, a warrior woman, has received little or no acknowledgement. Although Sadler points out that men and women are of equal status among Ngāpuhi, the issue of gender3 may have kept her in the shadow of her better-known husband, Hōne Heke, whose role in felling the British flag that once flew at Kororāreka (in the Bay of Islands) signalled the beginning of the country’s first war between Māori and the British, in 1845. Indeed, the English artist Joseph Jenner Merrett chose to portray Hariata in two watercolours of 1846, standing behind Heke, one with the warrior holding his trusty musket (Figure 1).4 Hōne Heke and Hariata were both active political figures in northern New Zealand during the 1840s; their networks encompassed traditional iwi communities, as well as governors, administrators and missionaries. While Hōne Heke’s letters to governors FitzRoy and Grey, along with other officials and settlers, have been quoted and used by historians throughout the twentieth and into the twenty-first century, research demonstrates that Hariata contributed to these and may have been solely responsible for some, as she herself stated. The time has come for this ‘illustrious’5 woman to move out of Heke’s shadow and to be acknowledged as the innovative leader she was, combining skills she learnt in both the traditional Māori world and the new European and missionary realms. She was a forerunner in communicating in the new technology of early-nineteenth-century Māori literacy, using these skills to communicate with Māori and European political leaders, and signing letters she wrote for Heke in his name. 87 88 ANGELA MIDDLETON Figure 1: Hōne Heke and Hariata, a composite watercolour by Joseph Jenner Merrett, 1846. Alexander Turnbull Library, Wellington, E–309–q–2–033. Source: Courtesy of the Alexander Turnbull Library, original in private collection. Hariata Hongi’s life spanned almost the length of the nineteenth century. She was the daughter of two significant Ngāpuhi leaders, the chief Hongi Hika and his primary wife, Turikatuku. Matenga (Marsden) was her first given name, noting the presence of Samuel Marsden, the founder of the first Church Missionary Society (CMS) mission to New Zealand, at the pā where she was born on either 9 or 10 January 1815; another of Hariata’s names was Rongo.6 Her mana, inherited from both her parents, was greater than that of either of her husbands, Hōne Heke and Arama Karaka Pī.7 Sir George Grey considered that ‘it was from her rank that Heke had, in a great measure, derived his influence.’8 Authorial Authenticity and Agency Historians, particularly those writing for the Waitangi Tribunal, have made wide use of Heke’s letters in the analysis of the 1845 ‘War in the North’ and related political events. This body of letters is scattered through archives, often as copies and translations, and the letters are quoted in texts as Heke’s own work and expression. Handwritten originals of such letters can be found in the Auckland City Libraries Sir George Grey Special Collections (with five purported to be from Heke and two from Hariata), the Hocken Library (one THE ‘ILLUSTRIOUS’ HARIATA HONGI 89 from Hariata, as well as copies of those from the Auckland City Libraries Sir George Grey Special Collections), and, after extensive searching, one in Archives New Zealand. Other letters are held as copies only in Archives New Zealand and as printed copies in the Great Britain Parliamentary Papers.9 This search for original letters has not been exhaustive and other examples may remain to be found. Heke appears to have been a prolific and astute letter-writer, his letters written in the metaphorical and poetic style of a master of the Māori language, where such eloquence is valued. The first letter quoted in Buick’s 1926 War in the North has a directness that conveys Heke’s sense of equality with British authority. This letter relates to the felling of the flagpole, the pou, at Kororāreka, perhaps the event for which he is best known. As Heke points out, this pou was his own, originally erected at Waitangi to fly Te Kara, the flag of independence: Friend Governor, this is my speech to you. My disobedience and rudeness is no new thing. I inherit it from my parents — from my ancestors. Do not imagine that it is a new feature of my character; but I am thinking of leaving off my rude conduct to the Europeans. Now I say I will prepare another pole inland at Waimate and I will erect it at its proper place at Kororareka, in order to put a stop to our present quarrel. Let your soldiers remain beyond the sea and at Auckland. Do not send them here. The pole that was cut down belonged to me. I had it made for the native flag, and it was never paid for by the Europeans.10 The same letter is quoted in Vincent O’Malley, Bruce Stirling and Wally Penetito’s The Treaty of Waitangi Companion, along with others the authors assume to be written by Heke.11 This has been accepted at face value as Heke’s work, but Buick provides a quote from Hariata Hongi, stating that she wrote all Heke’s letters, raising the question about who, indeed, was the writer.12 Fifty years later, John Caselberg (1975) used Buick as a source for two of the four of Heke’s letters that appear in his seminal collection of Māori writing.13 Other historians such as James Belich14 have also used Buick’s New Zealand’s First War as a source, but none seem to have noted Hariata’s place, ignoring the role that Māori women had traditionally played alongside men in social and political matters, as well as Buick’s clear quote from Hariata.15 In fact, her letters may be hiding in Buick’s, Caselberg’s and other later work, masquerading as Heke’s. The obvious way to address this question is to examine the signatures, handwriting and writing style in original documents, known to be from either Heke or Hariata. The difficulty lies in identifying original letters. For example, Grant Phillipson’s 2005 report, an overview of ‘Bay of Islands Maori and the Crown 1793–1853’, written for the Crown Forestry Rental Trust and the 90 ANGELA MIDDLETON Waitangi Tribunal, includes letters in the Appendix that are identified as those Hōne Heke wrote in 1845 and 1849, the last to Queen Victoria. These are not Heke’s own letters, even though Document 1 at first glance might appear to be an original, not a copy.16 The signature on this letter is not Heke’s own. The earliest, and obviously authentic (because they were witnessed), examples of Heke’s signatures can be found on official documents such as He Whakaputanga (the Declaration of Independence, 1835), his marriage certificate (1837) and Te Tiriti o Waitangi (1840), while an earlier still example of Hariata’s signature is shown on a writing slate dating to about 1831, recovered from an archaeological context at Kemp House in 2000 (Figure 2).17 It reads, ‘Na Rongo Hongi 16’, ‘by Rongo Hongi 16’ and is possibly ‘the earliest extant written text by a Māori woman.’18 Figure 2: Rongo (Hariata) Hongi’s signature on a writing slate, recovered from beneath the floor of Kemp House kitchen in 2000. In 1831, when James Kemp was constructing the lean-to kitchen, Rongo (Hariata) would have been aged 16. Source: Author’s collection. One original letter from Heke can be found in Archives New Zealand dated 10 October 1848, and written to Petingale, a Whangarei settler, about the killing — or stealing — of Heke’s sister’s pigs.19 The letter is written on thick paper, in pencil, and at the top right notes, ‘no toku kainga — no Haina’ — ‘from my home, from China’. Heke requested one saddle and £6 in compensation for the loss of the pigs. Beneath his signature on the last of three pages, Heke has written, ‘Kei Tautoro Hainia e noho ana’ — ‘I am living at Chinese Tautoro’. Below this, ‘Ko te Tautoro pukapuka he pene te tuhituhi ka THE ‘ILLUSTRIOUS’ HARIATA HONGI 91 witi [whiti] ki Kaikohe he mangumangu te pukapuka’ — ‘Tautoro letters are written in pencil, cross over to Kaikohe and the letters are in pen’.20 This matter of Heke’s sister’s pigs continued in correspondence with Cyprian Bridge, then the Resident Magistrate at Russell, and with Gilbert Mair, once of Te Wahapu but by that time settled in Whangarei, who Heke asked to translate the letter for Petingale. The ‘Chinese Tautoro’ is curious, as is the manner of writing letters there, compared with Kaikohe — perhaps resources (ink, or pens) were scarce. Another of ‘Heke’s’ letters, written to Governor FitzRoy in May 1845, provides a context for this, identifying China as another country colonized by Britain; perhaps the 1848 letter suggests that Tautoro itself is now part of a British colony, as indeed it was.21 The content of the letter (concerned fundamentally with Heke’s land interests in the Whangarei district) requires no further attention, but the matter of Heke’s signature and style of handwriting does.
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